Wineville

Wineville
Wineville

An entirely unpleasant affair, Wineville is nothing but a twisted tale of sexual deprivation and a serial killer somewhere in a California winery, along with a number of other distressing factors which, thankfully, cannot be recounted due to the threat of revealing too many of the twists in the plot. Still, the urge to simply voice them remains if only to hopefully spare some poor individual from viewing this depressed delusional mess. It is not like such an air of mystery is expected when the film is finished and the alleged surprises are nowhere to be found.

On the whole, it is star Brande Roderick in her directorial debut whose action is either negligent or apathetic, two words which should never be in the same sentence, especially about a horror movie. It begins in one of the most revealing scenes in a horror movie where a woman is decapitated by hedge trimmers and then, it cuts to Roderick’s Tess. She is now an adult and is living in a winery where she used to live as a child but considering the events, such is not the case. The intention is clear from the beginning but there are layers to this plot detail that are lost and frankly run contrary to the point of this character, so poorly written that even in such a simple task, such as looking for something, she is utterly useless.

All the attention for action in general has to be directed toward her at the climax of the story while the film itself has previously shown far too much, or has at least done so through the use of costly flashbacks. Here, the only suspense is about how Tess manages to lose track of events that are unfolding right in front of her till someone comes out and tells her everything bluntly.

The action begins in a flashback to the prologue, it switches to Tess and her son Walter (Keaton Roderick Cadrez, who happens to be the director’s and star’s son off screen as well) on their way to the predictably dubbed Wineville from Las Vegas. Her father is dead, and since there are no signs of a will, it is likely that the vineyard that her father owned and operated will now go to Tess. She was a teenage runaway and has not spoken to anyone in the family all these years and we see pieces of the father (Will Roberts) rough standing by the door frame of Tess’ room in the flashbacks, it’s no surprise that all Tess wants to do is to sell the house and forget about it.

At the moment, two individuals work and reside at the winery, the neighborhood of Tess, her parental twin sister Margaret (Carolyn Hennesy, to put it mildly, having a little bit of fun), and her foster son Joe (Casey King). Tess meets Joe at this stage because it is he who entices the young lady to the winery so that she can be killed, considering that Margaret has an icy demeanor and a rather unfriendly view of Tess. The audience may not ask too many questions about the ending, which shows the hands putting on worker gloves and preparing to hold sharp instruments. Yes, for the first time, Richard Schenkman may not be in the prolonged tension of further developments, as this is essentially a stupid mesh. All the combines have only two suspects in the body.

Joe gave Walter his own tour of the winery, teaching him to quickly strangle the leg of an injured chicken, getting angry when the boy almost cuts a vine, and having to lie that the reason why the grape masher has a blood stain is a cut on his arm. Unless it is so fast that you do not see it at all, there are not any acts of cannibalism in this cheap horror movie although, as it is ironically the case, there are plenty of other things to feature.

It’s better to overlook the specifics because they are really just poor variations on the theme of bothering in the absence of interesting characters or an intriguing mystery. In a way, the film brings about its own demise as it portrays what its plot is in detail rescuing many things like anonymity.

Let’s take for instance, right in the beginning, there is a scene where Joe recalls his childhood and since it has a dark comedic tone, we already know the truth about Margaret and Joe’s relationship. The truth of Tess’s history is brought to the forefront through an out of place and extreme close up flashback narrated to the local sheriff played by John Hicks who has a crush on her and looks refreshingly decent throughout, even to the point of reminding me of a Prince charming. The confession is then cut in a bizarre way, due to the fact that it was shot on 16 mm film which was accompanied by splattering sounds of the film being rolled in a projector. Considering how much this narrative goes to even try to shock us for the twits they reveal, it is safe to say the revelations are easily predictable.

To put it differently, Wineville is a complete train wreck full of horror that leaves you cringing at how the mystery unfolded through abuse and violence. It’s awful shocking abysmal drivel with no redeeming features.

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